Mary Lim

Thursday, October 31, 2013

Typography: Research on Serifa

I really like the lowercase z, u, c 

“From all these experiences the most important thing I have learned is that legibility and beauty stand close together and that type design, in its restraint, should be only felt but not perceived by the reader.”~ Adrian Frutiger
If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page… When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.

Designer Adrian Frutiger
Foundry Bauer
Year released 1966
Country origin Switzerland
Classification Serif, Slab Serif, Egyptian
Original Format Metal (Foundry)
Distributors Linotype, Fontshop


Frutiger is best known as a type-designer. He has produced some of the most well known and widely used typefaces... 
...born in Unterseen, Canton of Bern in Switzerland in 1928, the weaver’s son experimented with script from a very early age. With a passion for all things creative including sculpture, Frutiger planned to become a sculptor but was ushered away from the craft by his father and secondary schoolteachers. Instead, he was encouraged into the world of printing...

HISTORY (Excerpts from articles)
"The letterforms are based on those of Frutiger's earlier sans serif design, Univers. Square, unbracketed serifs have been added, making this a slab serif (or Egyptian) typeface.
Usually, slab serif types are blocky and difficult to read in text, but Serifa has more humanistic forms that are highly readable for both text and display applications such as headlines, captions, or corporate logos."
"Serifa and its condensed counterpart, the Glypha® font are based on an earlier Frutiger design, the Univers® family. The Univers font (1957) was one of the very first faces created specifically for the Deberny Et Peignot foundry phototypesetting equipment as well as the more traditional metal type. Starting with Univers, Frutiger created a special system to maintain consistency within the font faces he created. The system was based on a pair of numbers, the first of which referred to the font weight (3-8) and the second to the normal/italic characteristic. 
Univers was very well received, making the Serifa font a natural progression and a typeface Frutiger started designing in 1964. Serifa was released by the Bauer Type Foundry in 1967 and subsequently adopted by Linotype."

In certain creative situations, Serifa can be used as a standalone design element, lending itself well to minimalism. Such situations might include the construction of a corporate logo or complete company image as well as an unfussy business card design.  
Slab serif fonts in general are very adaptable and have the tendency to fit into some unusual artistic circumstances, giving assignments a unique flair. From simplicity to the “Wanted” posters commonly found in Western films, Slab serifs have left their marks almost everywhere. 
In the present day, Serifa has become very popular in printed magazine layouts as well as newspapers, its digital medium being a far cry from the slab serif faces cut from wood in the nineteenth century.

No comments:

Post a Comment